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An Introduction to the English 17 Creativity is Life and Life is Creativity Dr. Shahida Manzoor Abstract This paper is formal and contextual analysis of Anna Molka Ahamd‟s saying “Creativity is Life and Life is Creativity.” It explores the concept of creativity in relation to art and life in the light of artist‟s life and aesthetic approach. Although, creativity is not synonymous to art but it is best displayed in a work of art. Anna devoted her life to teach art. For her, relationship between creativity and life is similar to one, one sees between life and soul. It is this relationship between corporeal and non-corporeal which is being explored. It is an attempt to shed light on the aesthetic approach, taken by one of the great artists of Pakistan, Prof. Anna Molka Ahamad. Anna Molka Ahamd is remembered as the first Pakistani woman artist. She came to Pakistan from England in 1940 and brought with her a whole school of art and art education. Dynamic and bold in every respect, Anna opened new ways of seeing art in Pakistan. She played a pivotal role to introduce art and art education in the newly born country. Her accomplishments were acknowledged by the government of Pakistan by awarding Tamgh- e-Imtiaz in 1963; President‟s Medal for Pride of Performance in 1979; Quaid-i Azam Award in 1982 and Khudeja tul Kubra Medal 1983. She was an outstanding person, dedicated teacher, vibrant manager, symbolic and true artist. She was the first female ــــــــــــــــــــــــــــــــــــ Co-ordinator Ph.D Program, University College of Art and Design, Punjab University, Lahore 18 chairperson in the subcontinent and first female professor emeritus, an honor awarded to her by the Punjab University, Lahore- Pakistan, where she headed the Department of Fine Arts from 1940 to 1977. (1) Her motto: “Creativity is life and life is Creativity,” seems to cover almost every aspect of her professional and domestic life. For her, creativity was synonymous to life. She believed that life is not something static but something which influences its surroundings and keeps on changing under new circumstances. It is this sense of process that prevailed in her every undertaking, to do something vigorously and confidently. It is suggested that in this statement Anna has incorporated entire vision of art, which she had believed and advocated through out her life. In order to explore the multilayered meanings underneath this phrase, there is a need to look at some of the theoretical concepts, so that a relationship between her theory and practice can be enumerated. Since a person as an individual can not be separated from his/her environment, because it is principally the environment which shapes a person as an individual, therefore it will be appropriate to explore a relationship between theory and practice. In the phrase “Creativity is Life and Life is Creativity,” she seems to combine her theory with the practice. Generally speaking, theory refers to an act of thinking and practice is an act of doing something. Therefore, exploring the concept of creativity and its relationship with life can actually help to read and understand Anna Molka Ahmad‟s own way of looking at art and life. Creativity is an act which stimulates the imagination and leads an artist to create something that can be called art. Both creativity and life goes through a process of experience which has pattern and structures and if one can trace these patterns and structures one can explore Anna‟s concept of “Creativity is Life and Life is Creativity.” Creativity is result of aesthetic experience. An artist gains aesthetic experience from two sources: inward and outward. Inward experience comes from artist‟s own intuition, feelings and emotions and outward experience comes from the external world. Dewey(2) and Schiller(3) see aesthetic experience as an enhancement of life and everyday experience. Theodor Lipps suggests that creation is not outcome of the object but the person representing it because aesthetic experience or creative act cannot 19 be withdrawn from the one creating it. According to him “aesthetic value does not belong to the sensible object, but comes from something human, from life lying behind it.”(4) Hegel also support this notion, “the universal and absolute need out of which art, on its formal side, arises has its source in the fact that man is a thinking consciousness, i.e. that he draws out of himself, and makes explicit for himself, that which he is, and, generally, whatever is.”(5) Herbert Langfeld traces the psychological implications to creativity. He maintains that there are various sensual attributes involved in the creation of an art work because in the act of creation one‟s senses goes through unfelt muscular contractions caused within a person by imagined movements.(6) Consequently, in the process of creation “the mind becomes more highly organized and action becomes more completely systematized….”(7) It is this unification of mind and action, inward and outward, internal and external and particularly unseen and seen that unites creativity with life. Such an amalgamation of creativity and life is possible only through the “unity of experience that can be expressed only as experience.”(8) Explaining the systematic unification of creativity with life Dewey further explains, “The experience is of material fraught with suspense and moving towards its own consummation.”(9) In the act of creation ones experience needs to overpower the other and actually in Dewey‟s above statement consume the other to find its own existence, which will become ultimate expression of an artwork. Even in this notion of expression, creativity and life stand side by side. They share the idea that an expression is direct omission of an experience which comes from inward and outward both and where “creativity becomes life and life creativity.” It is this relation of inward and outward which dominates the art of Anna Molaka Ahmad. In order to understand and draw a connection between internal and external experiences there is a need to explore the contextual relationship with the formal aspects of her artworks. Anna‟s personality was unique due to the multi-cultural backgrounds she possessed, from her birth in England (August 13, 1917) to her death in Pakistan (June 21, 1994). She was born to a Polish mother and a Russian father. From her childhood she inquired the fundamentals of life, which led her to the level of dissatisfaction, about her religion, about her belief and relationship 20 with family and society. Consequently, she embraced Islam at the age of eighteen because she believed that it is the only religion which teaches universalism and it “signifies the brotherhood of mankind without any prejudice against race, color and creed. All believers follow one and the same God, the Divine Power and the Lord of the entire World.”(10) Anna Molka got her early education at the Godolphin and Latimer Girls High school, Hammersmith, London. It was here that she succeeded to win a scholarship in Fine Arts offered by the county council. Against the whishes of her father who wanted to choose more practical discipline, Anna preferred to study painting, sculpture and design in St. Martin School of Art, Charring Cross, London. Her success in this school encouraged her to apply for a senior scholarship of Fine Arts of the London Council, to study at the Royal College of Art. In order to keep secret from her father she plagiarized his signatures on the application form and joined the Royal College of Art, first as a student and later as an Associate of Royal College of Art and Design. Here she was awarded with certificates in graphic arts techniques such as, Line Engraving, Lithography, Dry Point, Etching, Aquatint and Wood Engraving.(11) Anna Molka‟s restlessness and dissatisfaction kept on growing with her. She found a ray of hope when she met Sheikh Ahmad, an Indian Muslim, who was going back to his country after completing a course in Aeronautical Engineering and staying for thirteen years in the United States. His meeting with Anna Molka not only prolonged his stay in London but also changed his whole plane. Originally, he planned to go back to his country and to continue practicing in Aeronautical engineering but after meeting with Anna he decided to compete for the Senior Scholarship of Fine Arts and became the first Asian to win this award. Sheikh Ahmad not only benefited with this opportunity to study in the Central School of Art and Craft but also taught evening classes there, he was considered one of the best draftsmen of the School. With the passage of time his relationship with Anna Molka got strengthened and she finally decided to embrace Islam and to marry Sheikh Ahmad. After they got married they left for India and landed on the Indian soil on October 3, 1939. Anna Molka‟s 21 process of life continued with vigor and enthusiasm, she lived in Lahore from beginning to the last moment of her life.(12) The art scene in the subcontinent was quite different than that of England. The base of professional art was extremely restricted, quite a few artists were actually professional and there was no school or college of art with particular emphasis on academics. Anna Molka brought new trends and methods to teach art and art education in which practical and theory were considered equally important. At the age of twenty two in 1940, she was selected art teacher in the Department of Fine Arts, Punjab University, Lahore. Anna designed syllabus first for bachelor and then for master classes. She remained in service almost for four decades. It is such a long duration and such a decisive period in the history of Pakistani art that no one could avoid its consequences.
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